KIDINTHEFRONTROW.COM interviewed New York based production sound mixer Noah Timan recently. Timan who wrapped on Wes Anderson’s “Fantastic Mr. Fox” a while back, is very honest and forthcoming with his answers one of which is abridged below.
KITFR: “Do you ever find times when the director chooses something visual, or a performance, over the importance of the sound recording. And how do you deal with that? It must be frustrating, I’d imagine. Can you think of any instances where your work has been compromised against your better judgement?”
NT: …There is often a very dismissive attitude on set toward the production track. Other crew members, like you yourself have suggested at one point, have often bought into this idea that a high percentage of the film is going to get looped, no matter what. So they say, “Well, why I am going to make sacrifices of my own work for the sound department when their tracks are not going to end up getting used anyway?” Or they say, less thoughtfully (and based upon zero personal experience in the realm) “this can be fixed in post.” Sometimes, in the latter case, they are right — but they are often completely unaware of how much work is involved by the post team to accomplish that, as opposed to far simpler solutions that often exist on set if there is some small semblum of patience and cooperation…
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